Wagner (2), Rheingold

An excerpt from the opening scene of Das Rheingold (1854). Although strongly expressive, it is not quite the same sort of dominant ninth chord as in the opening of Act II of Tannhäuser. The arrow points to the pedal tonic, and the chord above it would have to be considered a dominant ninth without its root. At least ^6 does resolve directly to ^5 (these are also doubled in the figuration).

A better example is from a little later, in what would have been a complete cadence in F major except for the deceptive close. Here the characteristic 19th-century cadential coloration of V with the ninth does at least give another ^6-^5 motive over the word "Rheingold."

In an exchange between the three Rhine Maidens, G: V9 in both major and minor forms is given particular attention:

And here is the first figure again, over its pedal C.

At the end, with the transition to the second scene, the dominant ninth becomes the central harmonic gesture for the pastoral sleep- (dream-) state of the gods Wotan and Fricka.

Eventually, the ninth in Ab: V9 resolves in an almost direct manner: see the boxed notes, arrow, and circled resolution.